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History of Animation FILM REFERENCE LIBRARY RESEARCH GUIDE: ANIMATION, 1 History of Animation This guide is designed to assist our patrons in understanding the history of animation by providing key resources to use as a starting point in their research. Use this information to refine your search, and contact library staff with any follow-up questions or for further research assistance. Subject Headings A subject heading can help you refine your search, making it easier to find exactly what you are looking for. To find books on animation history that are available in the Examples of subject headings related to Film Reference Library, use the following subject headings: animation: Animated films Animated films history and criticism Animated films – Canada – History and criticism Animated films – France – History – 20th Century Animated Films – Estonia – History Animated Films – Japan – History Animated Films – Russia – History March 22, 2019 FILM REFERENCE LIBRARY RESEARCH GUIDE: ANIMATION, 2 Recommended Books Books provide a comprehensive overview of a larger topic, making them an excellent resource to start your research with. Histories of Animation Animated Film; Concepts, Methods, Uses by Roy P. Madsen (Roy Paul) Publisher: Pitman Pub. Corp, 1969 Animating Film Theory by Karen Beckman Publisher: Duke University Press, 2014 Animation: Genre and Authorship by Paul Wells Publisher: Wallflower press, 1961 Before Mickey: The Animated Film, 1898-1928 by Donald Crafton Publisher: MIT Press, 1982 Creators of Life: A History of Animation by Donald Heraldson Publisher: Drake Publishers,1975 Disney's World: A Biography by Leonard Mosley Publisher: Stein and Day, 1985 Forbidden Animation: Censored Cartoons and Blacklisted Animators in America by Karl F Cohen Publisher: McFarland, 1997 Hayao Miyazaki: Master of Japanese Animation; films, themes, artistry by Helen McCarthy Publisher: Stone Bridge Press, 1999 The Nelvana Story: Thirty Animated Years by Daniel Stoffman Publisher: Nelvana, 2002 Turning Point: 1997-2008 by Beth Cary, Hayao, and Frederik L.Schodt Publisher: VIZ Media, 2014 March 22, 2019 FILM REFERENCE LIBRARY RESEARCH GUIDE: ANIMATION, 3 Articles Articles are usually shorter in length and focus on a unique argument. Note: All articles listed can be found from the Film Reference Library’s print and/or electronic periodical collection. You can access these articles by visiting the Library in person. Animation Journal; Santa Clarita Brownlee, Shannon. (2013) "Animating Film Studies" Canadian Journal of Film Studies, vol. 22, no. 1, , pp. 149-156. ProQuest, De Blois, M. (2012). Le cinéma d'animation canadien: Un bref historique. Journal of Film Preservation, (86), 85-88. Farren, P. (2002). IRISH ANIMATION: A BRIEF HISTORY. Film Ireland, (87), 12-14,5. Mazurkewich, K. (1997, Summer). Breaking Out of Their Cells: Animation in the Computer Age. Take 1, 6, 18. Moritz, William.(1996)."Animation in the Post-Industrial Era." The Oxford History of World Cinema. Edited by Geoffrey Nowell-Smith. Oxford University Press, New York, ProQuest, Sharp, J. (2007). Forgotten roots of JAPANIMATION: Masters of puppets. Film International, 5(1), 58-65,67-71. White, T. R. (1992). From Disney to Warner Bros: The Critical Shift. Film Criticism (ARCHIVE), 16(3), 3-16,76. March 22, 2019 FILM REFERENCE LIBRARY RESEARCH GUIDE: ANIMATION, 4 Films A collection of historic animated films from different countries, representing different stages and forms of animation. Country: Germany Country: India/Japan Country: Japan Language: none Language: English Language: Japanense The Adventures of Prince Kiki’s Delivery Service (1989), Achmed (1926), dir. Hayao Miyazaki Ramayana: the Legend of dir. Lotte Reiniger [Film File] [AV] [Film File] Prince Rama (1993), dir. Yugo Sako [Film File] Country: United Kingdom Country: United Kingdom Country: Italy Language: English Language: English Language: Italian Animal Farm (1955), Wallace and Gromit (1989), Allegro non troppo (1976), dirs. Joy Batchelor, John Halas dir. Nick Park dir. Bruno Bozzetto [Film File] [AV] [Film File] March 22, 2019 FILM REFERENCE LIBRARY RESEARCH GUIDE: ANIMATION, 5 Country: Soviet Union Country: Australia Country: USA Language: Russian Language: English Language: English Sleeping Beauty (1958), The Snow Queen (1957), The Little Convict (1979), dir. Clyde Geronimi dir. Lev Atamanov dir. Yoram Gross [AV] [Film File] [Film File] [Film File] External Sources Links to resources and institutions that have more information on animation history films and the industry List of 100 Animated Movies Canadian Animators National Film Board of Canada AMC Film Site History of Animation March 22, 2019 .
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  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
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  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
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  • The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
    THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States.
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  • Teachers Guide
    Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
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  • Animation 1 Animation
    Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides.
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  • Animation's Exclusion from Art History by Molly Mcgill BA, University Of
    Hidden Mickey: Animation's Exclusion from Art History by Molly McGill B.A., University of North Carolina at Chapel Hill, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Art & Art History 2018 i This thesis entitled: Hidden Mickey: Animation's Exclusion from Art History written by Molly McGill has been approved for the Department of Art and Art History Date (Dr. Brianne Cohen) (Dr. Kirk Ambrose) (Dr. Denice Walker) The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. ii ACKNOWLEDGMENTS I would like to thank the Department of Art History at the University of Colorado at Boulder for their continued support during the production of this master's thesis. I am truly grateful to be a part of a department that is open to non-traditional art historical exploration and appreciate everyone who offered up their support. A special thank you to my advisor Dr. Brianne Cohen for all her guidance and assistance with the production of this thesis. Your supervision has been indispensable, and I will be forever grateful for the way you jumped onto this project and showed your support. Further, I would like to thank Dr. Kirk Ambrose and Dr. Denice Walker for their presence on my committee and their valuable input. I would also like to extend my gratitude to Catherine Cartwright and Jean Goldstein for listening to all my stress and acting as my second moms while I am so far away from my own family.
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  • The Animation Industry: Technological Changes, Production Challenges, and Global Shifts
    THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed.
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  • Animation: a True Art Elyse Warnecke College of Dupage
    ESSAI Volume 14 Article 39 Spring 2016 Animation: A True Art Elyse Warnecke College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Warnecke, Elyse (2016) "Animation: A True Art," ESSAI: Vol. 14 , Article 39. Available at: http://dc.cod.edu/essai/vol14/iss1/39 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. Warnecke: Animation: A True Art Animation: A True Art by Elyse Warnecke (English 1102) hen you were a kid, do you recall what you did every day after school? Many people recall watching cartoons the first thing after arriving home. You might have enjoyed shows like WSpongeBob, Jimmy Neutron, Dexter’s Laboratory, and The Grim Adventures of Billy and Mandy, to name a few. Behind all of these shows are extensive crews that work together to bring characters to life and make the shows enjoyable. They all feature characters facing struggles, interacting with others, following a specific plot line, all through a series of illustrations. Animation has evolved vastly along with technology, branching out to three-dimensional images created using computer programs. As there are numerous roles involved in the process of animating motion pictures, it is impossible for all the jobs to fit under one “umbrella.” However, the same general skills and attitudes are required for each job--teamwork, time management, creativity, and an open mind to new ideas.
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  • Introduction to Computer Animation and Its
    INTRODUCTION TO COMPUTER ANIMATION AND ITS POSSIBLE EDUCATIONAL APPLICATIONS Sajid Musa a, Rushan Ziatdinov b*, Carol Griffiths c a,bDepartment of Computer and Instructional Technologies, Fatih University, 34500 Buyukcekmece, Istanbul, Turkey E-mail: [email protected] and [email protected] cDepartment of Foreign Language Education, Fatih University, 34500 Buyukcekmece, Istanbul, Turkey E-mail: [email protected] Abstract Animation, which is basically a form of pictorial presentation, has become the most prominent feature of technology-based learning environments. It refers to simulated motion pictures showing movement of drawn objects. Recently, educational computer animation has turned out to be one of the most elegant tools for presenting multimedia materials for learners, and its significance in helping to understand and remember information has greatly increased since the advent of powerful graphics-oriented computers. In this book chapter we introduce and discuss the history of computer animation, its well- known fundamental principles and some educational applications. It is however still debatable if truly educational computer animations help in learning, as the research on whether animation aids learners’ understanding of dynamic phenomena has come up with positive, negative and neutral results. We have tried to provide as much detailed information on computer animation as we could, and we hope that this book chapter will be useful for students who study computer science, computer-assisted education or some other courses connected with contemporary education, as well as researchers who conduct their research in the field of computer animation. Keywords: Animation, computer animation, computer-assisted education, educational learning. I. Introduction For the past two decades, the most prominent feature of the technology-based learning environment has become animation (Dunbar, 1993).
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  • Animation and Contemporary Art Little Nemo’S Progress - 3
    LITTLE NEMO’S PROGRESS ANIMATION AND CONTEMPORARY ART LITTLE NEMO’S PROGRESS - 3 INTRODUCTION Curator’s Acknowledgments The enduring global visibility—on merchandise, in films, in Pop Art and other incarnations in the I extend my most sincere thanks and appreciation to fine art realm—of Walt Disney Studios’ Mickey Mouse cartoon character has continued since his those whose tremendous efforts have helped facilitate this project. I am truly grateful to the dedicated and diligent first appearance, nearly 100 years ago, in the animated film called Steamboat Willie, Exhibition Curator Mora J. Beauchamp-Byrd (at far right) with Student staff of the OSU Museum of Art including Vicky Berry, Carla Curatorial Team (left to right): Bianca Martucci-Fink, Syd Hammond, Kayla Shelton, Catarina de Araujo, Carrie Kim, Casey Ihde, and Andrus, and Hope Bailey. Photo taken by Teresa Holder. directed by Walt Disney and Ub Iwerks.1 Several factors probably the second-favorite national pastime after Katie Winnicki. contribute to Mickey’s continuing relevance, including baseball. ... Classic animated cartoons referenced stage I am extremely thankful for the enthusiasm and I am also exceedingly grateful to the exhibiting artists: the nostalgic visual associations his image calls forth, a acts, presentation styles, and character types so much meticulous assistance of our Student Curatorial Team, LaTurbo Avedon, Lyndon J. Barrois, Andrea Crespo, Daniel highly recognizable anthropomorphism with human-like that cartoons became a symbolic repository of past culture comprised of the following OSU students: Project Canogar, Daniel Rozin, Jennifer Steinkamp, and Gabrielle characteristics, his high-pitched, overtly dramatic speaking and the accrued knowledge of vaudeville.”6 Early animators Coordinator Bianca Martucci-Fink (OSU Museum of Art Tesfaye.
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  • The History of Animation
    The History of early animation What is animation? Animation is the technique of photographing successive drawings or positions of puppets or models to create an illusion of movement when the film is shown as a sequence. Early animation Using moving pictures to tell a story has been around since prehistoric times, such as a bronze-age pottery bowl from 3000AD which shows a sequence of 5 images around it showing phases of a goat leaping up to nip a tree. Animation as we know it today began much later with the invention of devices such as the Magic Lantern and the Zoetrope. The Magic Lantern was invented in the 1650s by Christiann Huygens. It was an image projector which used pictures on sheets of glass. As some of the sheets contained moving parts it was considered the first example of projected animation. The Thaumatrope was invented by John Ayrton Paris in 1825. It was made from a disc of card with a different picture on each side (e.g. a bird on one and a cage on the other). When the disc was spun it fooled your eyes, so the two separate images appeared to merge to become one (the bird looked like it was in the cage). William George Horner invented the Zoetrope, originally called the Doedaleum, in 1833. It made individual pictures appear to be moving by looking through slits in a rotating cylinder. John Barnes Linnett patented the first Flip Book (known as a kineograph which means ‘moving picture’) in 1868. It contained a series of pictures which changed slightly from one page to the next so that when the pages were turned quickly, the pictures appeared to move.
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  • Computer Game and Animation Past, Present, and Future Computation‐Based
    Computer Game and Animation Past, Present, and Future Computation‐Based Computer Game and Animation Past, Present, and Future Changing objects Has gameplay, a over time: motion pattern defined and deformation though a set of rules caused by interaction Animation has two definitions • (narrowly) Animation as a graphics application – 2D cartoon animation – 2D/3D Animation movies • (broadly) Animation as a graphics technique – Producing special effects in movies and games – Animation movies – Gaming effect Graphics Pipeline • Time is continuous, but computers handle discrete data Geometry Animation Rendering Display Modeling Time 0 Frame 0 Objects Time 1 Frame 1 in reference space Time n Frame n Graphics Pipeline • I can generate the frames fast! (real‐time) – Generate one frame and then send it to display immediately – Such as games • I CANNOT generate the frames fast… (offline) – Save the frames into the disk – Play them back in the future – Such as movies Graphics Pipeline • The data you need to produce at each time? – Position – Orientation – Shape – Appearance – Phase change Computer Animation Perception • Beta motion – Appearance of motion from a set of still images • Flicker – Failure to achieve beta motion effect – Frame rate is too low (image update is too slow) • Motion blur Frame Rate • How many images are updated per second? (Frames per second, i.e., FPS) Movie and TV Game LCD Display 24FPS Film 25FPS TV in Europe 30FPS Graphics Research Some films (Avatar, 48FPS Standard for the Hobbit) Action Games TV in the US, high‐end 60FPS
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